New work

Manolo Mesa (1989, Spanje)

Manolo Mesa began creating graffiti in his hometown of El Puerto de Santa María in 2002.

In 2008, he enrolled at the University of Fine Arts in Seville. There, he exchanged the traditional world of graffiti for a more nuanced exploration of objects, memories, and cultural heritage.

Manolo is known for his large-scale murals featuring ceramic vases, jugs and everyday objects. These seemingly unremarkable objects – often sourced from family collections or second-hand markets – are laden with symbolic value. For Manolo, they embody identity, everyday history and collective memory. By focusing on simple, often overlooked objects, he challenges us to reflect on memories, heritage and the quiet beauty of everyday life. For Manolo himself, the challenge lies in translating these objects into large-scale paintings.

James Colomina (France, 1974)

James Colomina is a sculpture artist who is extremely concerned by issues such as consumerism, mass manipulation, the oppression of children, racism, poverty, the fate awaiting migrants and urban pollution. He took up street art to denounce stupidity and cruelty.

Isaac Cordal (1974, Spanje)

Issac has placed 14 small sculptures around the museum. His small statues – mostly businessmen in grey suits or anonymous bureaucrats measuring only 15-25 cm tall – have been placed in hidden locations. Can you find them all?

These scenes serve as metaphors for contemporary social issues and explore themes such as power, alienation, bureaucracy, climate change and human vulnerability. Cordal's work is subtle, ironic and often hidden in plain sight. It invites the viewer to reflect on the invisible costs of modern society and the fragility of human existence.

Xavier Schipani

'Hung Around, To Hold You' 2025

Visual Artist and Trans-Activist Xavier Schipani explores themes of Queer Identity, the trans masculine body, sexuality, memory and language. His work is centered around questions that contemplate gender identity, proof of existence, the transformative power of representation, and the emotional resonance of his experience as a transman. His figures emote a sense of longing, exploration and emotional curiosity that openly asks the viewer to be as vulnerable as he is.

The color palette of the piece directly references Pablo Picasso’s Guernica, a painting that depicts a war zone after a bombing. Xavier compares the body of a trans masculine male in turmoil to a battleground. Members of the trans community are under attack. He feels it is important for himself and members of his community to hold on to each other and pull closer during these times. The tenderness between the figures in his work is often driven by pain and the refusal to submit to fear.